This American death dealer strikes again with a new solo project, overflowing with rampant Death Metal riffs, firmly anchored to the roots of the genre but hitting with a powerful contemporary impact.
The multi-talented Jordan “HeavenHammer” Varela knows Death Metal. The essence of it runs through his veins. He’s the drummer for the crushing Lust of Decay, the multi-instrumentalist behind the ferocious music of Shuriken Cadaveric Entwinement, and a former member of legends of brutality Lividity. Now in 2026 this Charlotte, North Carolina-based death dealer strikes again with his new solo project, the venomous Dichotomy, and its debut offering Lucifer Owns The Fence. Overflowing with rampant Death Metal riffs, firmly anchored to the roots of the genre but hitting with a powerful contemporary impact, the album is a must-listen for fans of Hate Eternal, Deicide, Immolation, and Cannibal Corpse, among others, resulting in one of the most formidable and accomplished albums of Jordan’s career.
A demented guttural scream kicks off Jordan’s insane journey in He Is…, presenting no shenanigans, no artificial elements, just pure Death Metal madness flowing from his vocals, riffs and drums, and his relentless drumming is boosted by his metallic bass in The Antithesis, another bestial display of Death Metal by Jordan, followed by What A God, where he continues to blend old school sounds with a modern twist. Moreover, his guitar and bass work sounds amazing as usual, not to mention his drumming is demonic as expected. Jordan’s deep guttural will haunt your frail souls in The Fence, again presenting his trademark brutality for our total delight; while Better To Be Drowned With A Millstone Around The Neck carries an amazing title for a Death Metal song, and Jordan makes sure the music is just as harsh as those venomous words.
There’s no sign of Jordan slowing down or selling out at all in The Perseverance; quite the contrary, he keeps firing inhumane growls, Stygian riffs and demolishing beats and fills until the very last second. In The Greatest Lie Ever Told nobody but Jordan himself is sure which lie he’s talking about (as there are so many), but the Death Metal coming from his riffage and gruesome vocals will surely inspire you to slam into the pit even if you don’t like Death Metal. Through Christ We Live offers our putrid ears less than three minutes of pure savagery by Jordan, not recommended for the faint at heart, pounding our cranial skulls with his trademark beats and fills, until we face Satan Will Kill You, but let’s say Death Metal will save you, where his metallic bass and nonstop drums combo sounds like a sonic earthquake, ending the album on the most demented note imaginable.
Every note, every beat, every excoriating roar found in the nine tracks of unequivocal Death Metal on Lucifer Owns The Fence is the work of Jordan Varela, and if you want to show such a hardworking, talented and passionate metaller your support and admiration, you can find him and his Dichotomy on Facebook, and of course purchase a copy of his breathtaking new offering from the project’s own BandCamp, as well as from Rottweiler Records. In other words, be prepared for a monumental Death Metal assault to the sound of the fulminating Lucifer Owns The Fence, opening up the pit for a high dosage of violence and, therefore, fueling the unstoppable Jordan Varela to deliver another blast of Death Metal under Dichotomy in a not-so-distant future. It’s always amazing to witness one single person being responsible for an undisputed, demented high level of aggression and noise, and if there’s one thing Jordan has mastered doing, that is certainly delivering us all that and more in his solid career.
Best moments of the album:He Is…, What A God and Satan Will Kill You.
Worst moments of the album: None.
Released in 2026 Rottweiler Records
Track listing 1. He Is… 4:45
2. The Antithesis 3:28
3. What A God 2:49
4. The Fence 3:37
5. Better To Be Drowned With A Millstone Around The Neck 3:37
6. The Perseverance 2:30
7. The Greatest Lie Ever Told 3:21
8. Through Christ We Live 2:54
9. Satan Will Kill You 3:21
Band members Jordan Varela – vocals, all instruments
Vienna, Austria’s own Brutal Death Metal institution is back with a brand new full-length slab of extremity, a concept album chronicling the coming-of-age story of America’s probably most prolific serial killer, Ted Bundy.
Two years after their demolishing album Vile Postmortem Irrumatio, their sickening concept album based on the life of infamous serial killer Ed Kemper, Vienna, Austria’s own Brutal Death Metal institution Monument of Misanthropy has crawled back out of the basement with a brand new full-length slab of extremity, entitled Washington State Charm. Currently formed of George “Misanthrope” Wilfinger on vocals, Julius Kössler and Joe Gatsch on the guitars, Raphael Hendlmayer on bass, and Simon Martinsich on drums, the band is on absolute fire in Washington State Charm, a wholesome concept album chronicling the coming-of-age story of America’s probably most prolific serial killer, Ted Bundy, from the awkward upbringing to the early extracurricular activities, and the grand finale on the electric chair.
After the dark and sinister intro Obviously We Gotta Start Somewhere…, we’re pulverized by Monument of Misanthropy with the infuriated Neath Tacoma Asphalt, featuring guests Mendel Bij De Leij (Aborted) on lead guitars and Johnny Ciardullo (AngelMaker, Carcosa) on vocals, with the unstoppable drums by Simon inviting us for some good, no shenanigans slamming inside the pit. A Hunger Unstilled continues with their undisputed savagery, with the guitars by Julius and Joe breathing fire and aggressiveness, setting the tone for The 1974 PNW Spree, featuring guest lead guitars by Gabe Mangold (Enterprise Earth), even more infuriated and harsh, or in other words, another Brutal Death Metal beast spawned by such an indomitable band. Then we face another perturbing interlude titled Unfortunately WA before we’re crushed into pieces to the sound of Washington State Charm, and the title-track couldn’t have sounded more infernal and demented, with the visceral roars and gnarls by George sending shivers down our spines.
The band keeps hammering our cranial skulls with their undisputed brutality in Colorado Murder, with George’s deep, inhumane growls matching perfectly with the Death Metal riff attack by Julius and Joe; and Simon sounds like a wild creature out of control in The Hacksaw Blade, smashing his drums nonstop for our total delight. George’s scathing screams will penetrate deep inside our putrid minds in Chi Omega Blood Rage, supported by the thunderous bass by Raphael and the demonic beats and fills by Simon, followed by Suwannee Hog Shed, another blast of Brutal Death Metal madness by the quintet, with their guitars transpiring absolute chaos and hatred. Their last eerie, vile interlude, titled Could You Hear That?, will darken the skies before we face Strapped To The Throne (Burn, Bundy, Burn), featuring guest Hal Microutsicos (Engulf) on vocals, a bludgeoning tune that will sound fantastic if played live, perfect for some brutal slamming to the infernal riffs by Julius and Joe. And lastly, we’re treated to the bonus track The Eye Of Ra, featuring Shoi Sen (De Profundis) on lead guitars and Jean-Jacques Moréac (Misanthrope) on bass, and their cover for such a classic by Nile from their 2009 masterpiece Those Whom the Gods Detest (check the original one HERE) is utterly insane to say the least.
“While we’ve stayed 100% true to ourselves musically, which means constantly reinventing ourselves, we’re pretty damn sure you’re going to love this new album. We obsessed over every microscopic detail, whether it’s a hidden arpeggio, a lyrical pun, or just another described act of unspeakable horror and maybe some truths about Ted you might not even have known yet. This isn’t just another death metal record you half-listen to while bench-pressing. It’s an experience. A deep look into a very, very sick human being’s brain,” commented George, and you can get more details about the band and their (serial) killer new album from Facebook and Instagram, stream their sick creations on YouTube and on Spotify, and of course purchase Washington State Charm by clicking HERE. “We serial killers are your sons, we are your husbands, we are everywhere. And there will be more of your children dead tomorrow,” said the insane Ted Bundy, and there’s nothing more precise than the venomous and technical brutality found in the new album by Monument of Misanthropy to turn such an evil mind into ruthless extreme music.
Best moments of the album:Neath Tacoma Asphalt, Washington State Charm, Chi Omega Blood Rage and Strapped To The Throne (Burn, Bundy, Burn).
Worst moments of the album: None.
Released in 2026 Listenable Records
Track listing 1. Obviously We Gotta Start Somewhere… 0:17
2. Neath Tacoma Asphalt 3:51
3. A Hunger Unstilled 1:24
4. The 1974 PNW Spree 3:39
5. Unfortunately WA 0:20
6. Washington State Charm 3:54
7. Colorado Murder 4:53
8. The Hacksaw Blade 3:45
9. Chi Omega Blood Rage 3:10
10. Suwannee Hog Shed 3:34
11. Could You Hear That? 0:35
12. Strapped To The Throne (Burn, Bundy, Burn) 2:53
Bonus track
13. The Eye Of Ra (Nile cover) 4:52
Band members George “Misanthrope” Wilfinger – vocals
Julius Kössler – guitars
Joe Gatsch – guitars
Raphael Hendlmayer – bass
Simon Martinsich – drums
Guest musicians
Mendel Bij De Leij – lead guitars on “Neath Tacoma Asphalt”
Johnny Ciardullo – vocals on “Neath Tacoma Asphalt”
Gabe Mangold – lead guitars on “The 1974 PNW Spree”
Hal Microutsicos – vocals on “Strapped To The Throne (Burn, Bundy, Burn)”
Shoi Sen – lead guitars on “The Eye Of Ra”
Jean-Jacques Moréac – bass on “The Eye Of Ra”
This Florida-based Extreme Metal beasts are ready to attack with their sophomore album, plunging headfirst into the emotional and psychological aftermath of death.
Inspired by the burgeoning local metal scene of Tampa, Florida, Melodic Death/Thrash Metal beasts Blood of Angelsare making their mark on the genre that has guided them through the darkest of times. With local town heroes such as Cannibal Corpse and Nasty Savage inspiring down that path, the band formed of vocalist Randy Reyes, guitarist Aaron Robinson, bassist The Maggot, and drummer Jonathan Rushford blends Death, Black, Thrash and lashings of Power Metal into a high-octane frenzy, combining their musical prowess and instrumental talents to make social commentary on public mistruths and the atrocities committed against humanity. Now in 2026 the quartet is unleashing their sophomore opus, entitled Les Agnst ov Thanatous (which refers to the existential dread, anxiety, and deep-seated fear surrounding the inevitability of death, with “Thanatos” being the Greek mythological personification of death and “Angst,” German for anxiety or dread, representing the psychological weight of this realization), plunging headfirst into the emotional and psychological aftermath of death while presenting a cohesive narrative that traces the human response to grief through violence, ritual, memory, and reflection.
After the cryptic, horror movie-like intro Transitional Portal, the band comes crushing our souls with Beating You, where Jonathan hammers his drums in the best Death Metal style while Randy delivers deep, enraged vociferations for our total delight, supported by the always caustic guitar lines by Aaron. Then investing in a more Melodic Death Metal sonority the band offers our ears the hard hitting The Last Rites, perfect for some wild headbanging to the demolishing drums by Jonathan; and the quartet sounds absolutely on fire in Red River Death, a massive Death and Thrash Metal extravaganza led by the infuriated, grim roaring by Randy while his bandmates don’t stop pounding their sonic weapons.
The Pain Inside starts as a ballad, then morphs into a not-so-inspired metal aria, losing its grip after a while, albeit the crying guitar by Aaron still sounds great in the end; whereas back to the sound the band truly thrives we face Spillage, a Death Metal onrush where The Maggot and Jonathan make the earth tremble with their demented kitchen. Aaron’s riffage then revs up the band’s ruthless engine in Minds of the Broken, inviting us all for some action inside the pit. Nevermore presents elements from Sludge and Stoner Metal added to their core, a seven-minute feast of riff after riff, as heavy and groovy as it can be, with The Maggot once again kicking ass on bass, before all fades into the outro Eulogy, as enigmatic and cryptic as the intro, making the album go full circle.
Through its cohesive narrative and emotional intensity, Les Agnst ov Thanatou stands as the band’s most immersive conceptual work to date, inviting listeners to confront fear, loss, and mortality directly, offering an experience that remains long after the final sound fades. And you can also be part of such a unique experience by following the band on Facebook and on Instagram, by subscribing to their YouTube channel, by streaming their caustic creations on any platform like Spotify, and of course by grabbing a copy of Les Agnst ov Thanatous by clicking HERE. Death has always walked hand in hand with Extreme Metal, and Blood Of Angels definitely know how to turn all that fear, violence and darkness into ass-kicking heavy music as what they have to show us all in their new album.
Best moments of the album:Red River Death, Spillage and Minds of the Broken.
Worst moments of the album:The Pain Inside.
Released in 2026 Independent
Track listing 1. Transitional Portal 2:37
2. Beating You 4:05
3. The Last Rites 5:19
4. Red River Death 5:54
5. The Pain Inside 7:29
6. Spillage 3:26
7. Minds of the Broken 3:46
8. Nevermore 7:45
9. Eulogy 1:35
Band members Randy Reyes – vocals, acoustic guitars
Aaron Robinson – guitars
The Maggot – bass, backing vocals
Jonathan Rushford – drums, keyboards
Backed by nearly two decades of experience, this Scottish Death Metal brigade explores the idea of humanity slowly marching to its own doom in their scorching new album.
Backed by nearly two decades of experience, Glasgow, Scotland’s Death Metal brigade Scordatura (the technique of altering the normal tuning of a stringed instrument to produce particular effects) refined their brutality now in 2026 into a precise, sense‑shattering assault entitled Led Into Oblivion, the follow-up to their 2020 opus Mass Failure, sounding more focused and direct than ever before with a single minded intensity. Recorded and mixed by Malcolm Abbou of Heads On Pikes, mastered by Korentin Mens, and displaying a sinister artwork by the unparalleled Paolo Girardi, the newborn beast by Daryl Boyce on vocals, Owen Mckendrick on the guitar, Liam Mccafferty on bass, and Tam Moran on drums offers nine tracks of pure Death Metal madness, delivering their most ambitious and punishing work yet, exploring the idea of humanity slowly marching to its own doom with increasing reliance on technology and artificial intelligence.
The ominous intro Doomed To Fate sets the stage for the band to kill us all in the title-track Led Into Oblivion, a venomous Death Metal assault where Daryl sounds inhumane on vocals supported by the demolishing drums by Tam; and if you enjoy the mighty Cryptopsy you’ll have a blast listening to Existential Termination, where Owen’s riffs will cut your flesh mercilessly. After such a demolishing tune, Echoes Of A Fractured Mind presents another lesson in old school Death Metal the likes of Immolation and Cannibal Corpse, led by Tam’s unrelenting beats and fills, followed by Oppressed Repressed, one of the most demented, fast and infuriated of all songs, with Daryl’s vocals reminding me of the great Oliver Rae Aleron of Archspire.
Then slowing things down a bit and investing in mid-tempo Death Metal heaviness we’re treated to A Manic Indoctrination, with the riffage by Owen sounding demonic, whereas back to a more demolishing sound we have Retali(H)ate, inviting us all to slam into the pit to the thunderous bass and drums by Liam and Tam. In When The Red Moon Hangs Low the band brings forward more of their bestial, ruthless Death Metal sounds, attacking our senses and our putrid bodies with an overdose of blast beats and gruesome vociferations; while their second to last slab of insanity comes in the form of Maw Of The Void, with Daryl once again barking deeply and rabidly until the very end. Finally, get ready for an avalanche of 90’s Death Metal for our absolute delight in Begging To Die, spearheaded by the infernal drums by Tam.
Scordatura know the music they want to play and will keep blasting towards that goal with unwavering belief and absolutely no compromise. Led Into Oblivion is undoubtedly a fierce statement of technically edged, uncompromising Death Metal, sounding razor‑sharp, relentless, and fully committed to extremity, being therefore highly recommended for fans of Cryptopsy, Suffocation, Origin, and Cannibal Corpse, among others. You can get in touch with those American death dealers on Facebook and on Instagram, stream their sick music on Spotify, and above all that, put your hands on their excellent new album via BandCamp or mailorder (or click HERE for all things Scordatura). We’re certainly moving to our inevitable doom, but while we have bands like Scordatura to treat us with their first-class Death Metal, our demise will be at least a fun one.
Best moments of the album:Led Into Oblivion, Oppressed Repressed and When The Red Moon Hangs Low.
Worst moments of the album:A Manic Indoctrination.
Released in 2026 Everlasting Spew Records
Track listing 1. Doomed To Fate 0:40
2. Led Into Oblivion 2:57
3. Existential Termination 2:45
4. Echoes Of A Fractured Mind 3:30
5. Oppressed Repressed 3:07
6. A Manic Indoctrination 3:41
7. Retali(H)ate 2:54
8. When The Red Moon Hangs Low 2:33
9. Maw Of The Void 2:51
10. Begging To Die 3:16
Band members Daryl Boyce – vocals
Owen Mckendrick – guitar
Liam Mccafferty – bass Tam Moran – drums
After twenty years, these veterans of the Calgary metal scene are going out with a bang with their third and final album, featuring ten songs about ten of the band’s favorite horror movies.
Veterans of the Calgary metal scene, Blackened Death Metal horde Gales of Avalon is unleashing their third and final full-length release, titled Terror Vision, following up on their 2017 album Hope and their 2022 EP Oblivion. You read it correctly. Unfortunately, after twenty years, countless shows, three EPs, and three full-length albums, the band has decided to bring their adventure to an end. Mixed by James Neill, with help from Mark Dillon and Gavin Szentner, and mastered by Roland Rodas at Cavern of Echoes, the new album by vocalist and bassist James Neill, vocalist and guitarist Mark Dillon, guitarist Collin Wo, and drummer Jamie Gallo features ten songs about ten of the band’s favorite horror movies, offering their trademark mix of catchy heavy songs and soaring guitar harmonies, and their brand of genre bending metal songs.
Your body and soul are doomed if you don’t enjoy the opening track Camp Crystal Lake, from its eerie intro until the very end, with their Death Metal riffs matching perfectly with James’ deep guttural. Mark and Collin then bring the badass Rock N’ Roll vibe from the mighty Motörhead through their sharp riffs in Return of the Living Dead, perfect for some wild headbanging; followed by Lifeforce, another blast of Death N’ Roll led by the classic beats by Jamie, supported by the rumbling bass by James. The Town that Dreaded Sundown invites us all to bang our heads together with the quartet, with James once again barking and roaring nonstop, whereas 100 Pieces of Gold explodes into a wild mix of 70’s Rock N’ Roll, Stoner Metal and their core Death Metal after its cryptic intro.
The deep vociferations by James are nicely complemented by the always heavy-as-hell riffs by Mark and Collin in Always You, offering more of the band’s trademark blend of savagery and melodious sounds, and the dual vocal attack by James and Mark works really well in C.H.U.D., while Jamie keeps blasting his drums in great fashion. After such a bold tune, Dead by Dawn presents another round of the band’s scathing riffage, albeit a bit repetitive in the end; while in My Bloody Valentine they get back to a more electrifying sonority, with the riffs and solos by Mark and Collin living up to the legacy of Melodic Death Metal. Finally, we face a unique take on one of the biggest slasher films of all time, Texas Chainsaw Massacre, featuring Amanda Marie Bourdon of the bands Caveat and Greybeard, mixing rap music with their core deadly sounds.
“We had a lot of time to write and record this album. We played the songs live for a few years, working them out, and we are very proud and happy with the final product. We knew, going into the recording, that this was gonna be the last one. So, we wanted to put in an effort that was heavy and fun for the fans,” said James Neill, and if you want to know more about Gales of Avalon, their very last album, as well as their previous ones, you can find those guys on Facebook, stream their music on Spotify, and of course purchase the album from BandCamp. Not only that, the band will be playing an album release party on June 13 at Vern’s Tavern in Calgary, with support from The Bodies of Everest, Armifera, Oklahoma, and BlackSpirit, which means if you’re around that area you know what to do. Gales of Avalon are going out with a bang with Terror Vision, and hopefully we’ll hear from the guys with other bands and projects. Gales of Avalon will surely be missed, but not before leaving us with a banger of an album.
Best moments of the album:Return of the Living Dead, Always You and My Bloody Valentine.
Worst moments of the album:Dead by Dawn.
Released in 2026 Independent
Track listing 1. Camp Crystal Lake 4:56
2. Return of the Living Dead 4:33
3. Lifeforce 5:27
4. The Town that Dreaded Sundown 4:15
5. 100 Pieces of Gold 4:18
6. Always You 5:25
7. C.H.U.D. 3:45
8. Dead by Dawn 4:52
9. My Bloody Valentine 3:45
10.Texas Chainsaw Massacre 4:12
Band members
James Neill – vocals, bass
Mark Dillon – vocals, guitars
Collin Wo – guitars
Jamie Gallo – drums
Guest musician
Amanda Marie Bourdon – vocals on “Texas Chainsaw Massacre”
Making their way straight out of a grave and crawling into the human-known world, this Italian Death Metal beast keeps the past alive and undead in their striking debut EP.
Making their way straight out of a grave and crawling into the human-known world close to the end of 2025, Italian Death Metal creature Tombal is ready to unleash absolute hell upon humanity armed with their striking debut EP, a 16-minute assault of bestial violence and savagery titled Grave of the Damned. Heavily inspired by the HM-2’s fierce and sharp tones, the band formed of Luigi Cara on vocals and guitar, Mario Tamponi also on the guitar, Massimiliano Falchi on bass, and Luca Barone on drums channels the tradition of Swedish Death Metal in their debut offering, finding their identity in a violent, ferocious sound with no compromises, therefore resulting in a swift and satisfying display of classic 90’s extreme music for admirers of the genre.
After the short and bitter intro Cryptic Invocations, the band begins their feast of caustic, no shenanigans Death Metal in the title-track Grave of the Damned, led by the pulverizing roars by Luigi and the crushing drums by Luca, proving the band is not fooling around in their quest for violent, gory and brutal extreme music. Then the metallic bass by Massimiliano sets the tone in the also fast and ruthless Cemeterial Death Worship, with Mario bringing his share of melodic yet visceral riffs to the band’s core sonority, whereas in Funebral Furnace they invite us all to slam into the circle pit as if our lives depended on it, with Luigi once again barking and growling deeply in the name of our good old Death Metal. Lastly, we’re treated to Cathedrals of Rot, a first-class metal attack by the band without a single second of peace, destroying us all and leaving us eager for more of their demonic music in the near future.
Tombal’s opening statement is so impressive that the band is already working on their first ever full-length album, which is slated to be recorded before year’s end, keeping us pumped for the new carnage that’s about to come from beautiful Italy. In the meantime, you can start following those talented and promising musicians on Facebook and on Instagram, including their ferocious live concerts, stream their bludgeoning music on any streaming service like Spotify, and of course grab a copy of their debut EP from Blood Harvest’s BandCamp or webstore. Because the past is not just alive through the music by Tombal, but also undead.
Best moments of the album:Grave of the Damned and Cathedrals of Rot.
Worst moments of the album: None.
Released in 2026 Blood Harvest
Track listing 1. Cryptic Invocations (Intro) 1:01
2. Grave of the Damned 4:00
3. Cemeterial Death Worship 3:59
4. Funebral Furnace 3:46
5. Cathedrals of Rot 3:01
Band members Luigi Cara – vocals, guitar
Mario Tamponi – guitar
Massimiliano Falchi – bass
Luca Barone – drums
These ruthless Death Metal veterans will satiate your hunger for thunderous extreme music with their demolishing tenth full-length opus.
Founded in the spring of 1987 in Illertissen, Germany, by Stefan Hanus and Bastian Herzog, the ruthless Death Metal brigade known as Fleshcrawl will satiate your hunger for thunderous Death Metal with their forthcoming full-length opus, entitled Epitome of Carnage, following up on their 2019 offering Into the Catacombs of Flesh. Recorded at Scumlight Studio, produced and mixed by the band itself, and mastered by Peter In de Betou at Tailor Maid Production, the newborn spawn by Borisz Sarafutgyinov on vocals, Apu Justin Reisch and Christian Kalbrecht on the guitars, Manu Markowski on bass, and Bastian Herzog on drums will please all fans of rotten, old school Death Metal, decimating everything and everyone that crosses the path of a band that has been living and breathing pure extreme music for almost 40 years.
Their level of brutality already goes through the roof in the opening track Blood Dominion, led by the demented blast beats by Bastian while their guitars transpire Death Metal, followed by Chapel Of Guts, as gruesome as it can be thanks to the deep vociferations by Borisz, supported by another round of Stygian riffs by Apu and Christian. They keep shredding their axes in Grave Messiah while Bastian goes full Brutal Death Metal on drums; whereas in Embers Of Wrath the band continues to make everything tremble with their groove-infused Death Metal attack, with Borisz’s guttural reaching a new slab of vileness. Committed To Suffer offers pure 90’s Death Metal magic flowing from all instruments, in special from the devilish riffs by Apu and Christian, while Reign Forever lives up to the legacy of European Death Metal the likes of Vomitory, with Bastian once again stealing the show with his inhumane beats and fills.
The second part of the album kicks off with the Stygian interlude Chronicles Of Bloodshed, warming us up for the demolishing Rebuilt From Flesh, where their slashing riffage will cut our flesh into pieces. It’s absolutely harsh, brutal and heavy, with Borisz barking like a demonic entity until the very end, and there’s no time to breathe to the frantic riffs blasted by the band in Orphan God, again offering an overdose of their deep, visceral sounds. Then get ready to break your neck headbanging with Path Of Thorns, as evil as it can be due to another demonic vocal performance by Borisz, followed by Heralds Of Death, not as exciting as its predecessors albeit still showcasing a solid guitar work by Apu and Christian. Lastly, there’s no better way to end a Death Metal album than with a slamming tune like Of Fire And Flesh, bringing forward the band’s characteristic guttural roars, vile riffs and demented bass and drums.
After listening to each and every track from Epitome of Carnage, you’ll easily realize why Fleshcrawl refuse to die, continuing to spread their Death Metal madness to all four corners of the earth with the same intensity and rage from their early days. And if Death Metal is your business, and business is good, you can find those deadly German creatures on Facebook and on Instagram, including their killer live concerts, stream their visceral tunes on Spotify, and of course grab a copy of their new album from the Reigning Phoenix Music’s webstore in the EU, US or UK, or simply click HERE for all available versions of the album. But you better be warned as once you hit play on the new album by Fleshcrawl, there will be carnage.
Best moments of the album:Chapel of Guts, Grave Messiah, Reign Forever and Of Fire And Flesh.
Worst moments of the album:Heralds Of Death.
Released in 2026 Distortion Music Group (DMG)
Track listing 1. Blood Dominion 3:49
2. Chapel Of Guts 5:44
3. Grave Messiah 4:01
4. Embers Of Wrath 3:26
5. Committed To Suffer 3:55
6. Reign Forever 3:50
7. Chronicles Of Bloodshed 1:08
8. Rebuilt From Flesh 3:54
9. Orphan God 3:51
10. Path Of Thorns 5:22
11. Heralds Of Death 4:08
12. Of Fire And Flesh 4:44
Band members Borisz Sarafutgyinov – vocals
Apu Justin Reisch – guitars
Christian Kalbrecht – guitars
Manu Markowski – bass
Bastian Herzog – drums, additional vocals
Demon, please leave my mind… Delusional fight… Beaten, feel so traumatized… Outraged and down…
As June in the Northern Hemisphere is always splendid, our metal lady of such a warm and vibrant month also had to be a splendid one. However, you’re absolutely wrong if you think she sings about happiness and joy. Quite the contrary, she doesn’t care if it’s sunny and warm outside, delivering a Stygian blend of Atmospheric Black and Doom Metal with her band powerful enough to block the sun like a true sonic eclipse. Her name is Kristien Cools, the frontwoman for Belgian doom entity Splendidula, and you better be ready because once you enter her realm of gloomy and visceral doom, there’s no escape.
Born on September 22, 1985 in Mol, a municipality located in the Belgian province of Antwerp, but currently residing in Temse, a municipality in East Flanders, Belgium, Kristien is not only a metal vocalist, but she’s also a digital creator and a financial assistant. Regarding her studies, she went to the Provincial Kunsthumaniora Hasselt (PIKOH), to SISA in Antwerp, and also studied Desktop Publishing at CVO Heusden-Zolder. In addition, she’s is in a relationship with Belgian musician Joachim Taminau, who’s by the way the drummer for Splendidula.
Kristien said that she already started singing from the very first moment she could, already as a young child. Even back then she said “I’m going to be a singer,” and she has stuck to that ever since. “I was in my first band when I was 17, with which I did gigs and recorded a CD. Splendidula is definitely the band where things got more serious. I actually waited a very long time before taking singing lessons, but I once read an article about a singing teacher who teaches the technique for heavier singing in a healthy way, and that piqued my interest.”
Effortlessly blending genres to create a unique and captivating sound while dealing with delicate topics such as spirituality, depression, nightmares and death, Temse, Belgium-based Atmospheric Black/Doom Metal entity Splendidula started back in 2008, but none of the founding members are part of the band anymore. As a matter of fact, the band only released their debut self-titled album in 2013, already including Kristien on vocals, but with a completely different lineup with David Vandegoor and Adriaan Paszewski on the guitars, Jo Flemings on bass, and Patrick Vanderhenst on drums. After that, already featuring Joachim Taminau on drums (as well as other band members), the band released the albums Post Mortem, in 2018, and Somnus, in 2021.
Things unfortunately took a dark turn for Splendidula in 2022 with the passing of bassist Peter Chromiak, who played with the band in the albums Post Mortem and Somnus. Both guitarists at that time, Pieter Houben and David Vandegoor, found it impossible to carry on and Kristien and Joachim had to find new band members. After guitarist Guy Van Campenhout joined the band, and with the departures of guitarist Kim Van Stichel and bassist Bart Deroissart, they released their 2026 opus Absentia, a deeply personal journey through themes of loss and remembrance, available on BandCamp and on Spotify. Furthermore, in all of their albums you’ll find really touching, grim and scathing creations such as Absentia, Echoes of Quiet Remain, Behind My Semblance, Oculus, and Drocht.
According to the band, their name is derived from “lamprohiza splendidula,” the Latin name for “firefly,” aiming to represent the mysterious and peaceful feeling that these insects express when they fly around trees or float over water at night. Sitting at the crossroads of Atmospheric Black Metal and Doom Metal, the band blends the raw intensity of Black Metal with the deep, immersive atmosphere of Doom Metal, and while classic influences are certainly present, their focus is on crafting a layered, emotional experience. The combination of visceral screams, ethereal synths, and heavy instrumentation builds an atmosphere that is both intense and hypnotic, as their music is all about emotion and immersion, drawing the listener into the darkness they create.
Kristien also had some interesting comments about the music style played by Splendidula in one of her interviews. “We actually started writing music without wanting to play a particular genre. For us, the atmosphere that a song radiates is more important than whether or not we fit into the box we’re put into. During this process, we’ve evolved to a sound with a typical Doom metal base, accompanied by different influences from Sludge, Post and Black Metal. In this way we’re not limited to the boundaries of a particular genre. We want to continue evolving and explore musical boundaries, without standing still, and of course we hope that our audience will show the willingness to grow with us.” Regarding the band’s usually bleak artworks, she mentioned that the band decided to go for a really somber, yet very meaningful style of monochromatic art, to connect further with the concept of dreaming. “Actually a part of the population dreams solely in black and white, and a lot of theories suggest that people tend to dream in black and white when they experience something traumatic. After overcoming that difficult period, colours are gradually returning. We found this connection between dreams and reality very intriguing.”
Although Splendidula is obviously Kristien’s only band, you can also find her as a guest vocalist for the song Of Winter’s Woe and Whishes Whispered, from the 2021 album Prelude to Void, and all female vocals in the 2022 album A Voidchaser’s Elegy, both by German Ambient Doom/Post-Metal act Eirð, with her delicate yet visceral vocals matching perfectly with the long composition by the band’s mastermind Andreas Georg Libera, going on for over 10, 15 and even 20 minutes. I’m sure we’ll see more special appearances from Kristien in the near future for other bands that play Black, Death, Doom, Post-Metal, or any other subgenre of extreme music, as her voice fits perfectly in any of the darkest styles in Heavy Metal.
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Within the Black Metal spectrum, Kristien said that some of her major musical influences are renowned acts the likes of Rotting Christ, Wiegedood, Austere, Hecate Enthroned, and Urfaust, among several others, saying she’s always been drawn to Atmospheric Black Metal. “There’s something about the darkness and atmosphere that truly moves me. It’s more than just music, it’s an emotional experience. Outside of metal, my ‘feel-good’ music is New Wave and EBM, as I love the melancholic yet danceable energy these styles bring. I listen to many genres, what truly matters is that the music evokes emotion,” she commented.
As the band wanted to dedicate Absentia to their deceased bassist Peter Chromiak, and as Kristien was looking for a way to express her emotions even further, that album is the one where you’ll find her most aggressive vocals, having received lots of tips on how to properly venture through the realms of screaming and guttural singing. “Personally, I like to be able to vary as much as possible, both the low and high vocals, and now with the screams added, so that people stay captivated, and for me that is interesting too, of course.” Not only that, she mentioned that the band’s creative process includes writing the music first, starting from a basic riff in the rehearsal room, and then experimenting with song structures and implementing some of their personal influences, which is when she begins crafting her vocal lines as well. “Remarkably, I usually create my vocals while driving the car. Belgian traffic jams seem to be the perfect occasion to play some rehearsal recordings and start singing along. In this way I often create melodies very instinctively, and only at the very last stage, these melodies are also accompanied by written words.”
Needless to say, Kristien loves to perform live, having already played in different Belgian cities like Antwerp, as well as outside of their homeland, and at Belgium’s second-largest metal festival, Alcatraz. Furthermore, when asked how she would determine the setlist when Splendidula is scheduled for a 30 or 40-minute slot anywhere, taking into account their songs are long and detailed (sometimes surpassing the nine-minute mark), she said that can be a bit of a puzzle, but in the end everything makes sense and the show flows really well. Also, as the band consistently uses visuals in the background, like video footage, to create the perfect atmosphere and give their concerts a more theatrical vibe, there’s always lot of work to be done by Kristien and the boys, but it’s all worth it as the audiences love every single second of their performances.
Lastly, as a Belgian citizen that’s proud of the metal scene in her homeland, Kristien recommends Antwerp’s own Doom/Death Metal band Marche Funèbre, who by the way released the amazing album After the Storm, in 2024; West Flanders-based Atmospheric Death/Black Metal act Thurisaz, who unfortunately played their last concert on December 6, 2024 in Kortrijk, Belgium, before calling it quits; and Mechelen’s own Atmospheric Sludge/Post-Metal band Pothamus, who released in 2025 the album Abur. Who knows, maybe one day we’ll see Kristien as a guest vocalist for one of these bands, or any other band from the darkest and most melancholic side of music, right? Because we need more of the voice of Kristien Cools in our rotten and decaying world, as her singing is as comforting as it’s dark and gloomy.
Meshing different Death Metal styles in a way that’s both confounding and challenging, this Canadian ensemble returns with their sophomore beast, their most evolved creation to date.
Meshing different Death Metal styles in a way that’s both confounding and challenging, throwing Technical, Melodic, and Brutal Death Metal elements into a high-speed blender, Brantford, Ontario-based ensemble Goreworm have been on a roll since their inception back in 2017, culminating now in 2026 with the release of their sophomore album Miasmic Solitude, following up on their 2020 debut Prodigy of the Grotesque. Displaying a grim, barren artwork by Leanna TenEycke, and featuring guest drummer Robin Stone (of bands like Ashen Horde, Norse and Chestcrush), the new album by Robert Miller on vocals, Jordan Estrela on the guitars, and Brent Moerschfelder on the guitars and bass is their most evolved creation to date, and it must be celebrated for its passionate and innovative take on the Technical Death Metal style.
It’s pedal to the metal from the very first notes in the infuriated Conjuring, with its background epicness elevating the band’s heaviness to a whole new level, not to mention Robin simply demolishes his drums in an ode to tech death. The following tune Monuments to Murdering brings forward a crazy fusion of Progressive and Technical Death Metal where Robert’s enraged roars match perfectly with the intricate riffs by Jordan and Brent; whereas The Enthralling Grave, the first single of the album, offers an onrush of violence and dexterity, with Robin once again hammering his drums in the name of extreme music. The band then delivers a somber, grim sonority in Orbweaver, evolving into another slab of brutal insanity spearheaded by the inhumane riffage by the band’s guitar duo, and it’s time to headbang like a maniac to the sound of Amor Vincit Omnia, a Latin phrase meaning “love conquers all,” coined by the Roman poet Virgil around 37 B.C., another solid Technical Death Metal beast crafted by the boys.
The band goes berserk in the Death Metal extravaganza No Reprieve, with Robert barking and growling rabidly for our absolute delight in a lecture in Technical Death Metal made in Canada; while Eve of Flagellation feels a bit uninspired in the end despite its heaviness and fury, even with Robert roaring like a demonic entity nonstop. Then back to a more creative and demented sonority we face Jarrell, as infernal as it is technical, with Robin stealing the spotlight with perhaps his most demolishing performance of the entire album; whereas adding epic elements to their core savagery, the band destroys everything and everyone with Strelly, where Brent sounds ruthless with both his guitar and bass for our total delight. And lastly we have the title-track Miasmic Solitude, putting a beyond pulverizing ending to the album to the sound of the band’s undisputed screams, riffs and beats.
After all is said and done, the new offering by the unrelenting Goreworm will undoubtedly appeal to fans of the most intricate yet demolishing form of Death Metal crafted by bands the likes of Arsis, Gorod, Xenosis, Fleshbore, and Obscura, just to name a few. You can get to know more about such a talented band from Canada by following the band on Facebook and on Instagram, blow your speakers by streaming their music on Spotify, and of course grab a copy of their incendiary new album from their own BandCamp or from the Transcending Obscurity Records’ BandCamp, main store, US store or EU store. Goreworm offer classic Death Metal, Technical Death Metal, Brutal Death Metal and more in Miasmic Solitude, and you better get ready as once their music strikes you, it will be deadly.
Best moments of the album:Monuments to Murdering, No Reprieve and Jarrell.
Worst moments of the album:Eve of Flagellation.
Released in 2026 Transcending Obscurity Records
Track listing 1 Conjuring 4:10
2 Monuments to Murdering 3:04
3 The Enthralling Grave 3:04
4 Orbweaver 4:34
5 Amor Vincit Omnia 5:02
6 No Reprieve 4:13
7 Eve of Flagellation 4:11
8 Jarrell 4:10
9 Strelly 3:29
10 Miasmic Solitude 4:09
Band members Robert Miller – vocals
Jordan Estrela – guitars
Brent Moerschfelder – guitars, bass
One of the most compelling acts within the South American Extreme Metal scene returns with their deadly third full-length album, refining their sonic identity without sacrificing intensity or authenticity.
Formed in 2016 in Iquique, a coastal city in northern Chile, to the west of the Atacama Desert, the unrelenting Rotten Tomb have steadily risen as one of the most compelling acts within the South American Extreme Metal scene, blending Death Metal with doom-laden atmospheres and occult undertones. Following the strong impact of their 2022 debut Visions of a Dismal Fate and the equally praised 2024 sophomore The Relief of Death, the band formed of Deathbringer on vocals and guitar, C. also on the guitar, Utukku on bass, and A. Prophaner on drums returns with their most ambitious and fully realized work to date, titled Vestiges of Tortured Souls. Recorded and mixed by Pablo Clares at DM6 Recording Studio, the album sees the band refine their sonic identity without sacrificing intensity or authenticity. The riffs are sharper and more cohesive, while the melodies take on a more prominent role, painting soundscapes that feel more sorrowful and evocative than ever before, being therefore highly recommended for fans of Incantation, Paradise Lost, Krypts, and Sonne Adam.
The quartet wastes no time and begin their lecture in violence and hatred in Horror Manifestations, with the demented roars by Deathbringer walking hand in hand with the crushing drums by A. Prophaner, followed by Condemned Reality, as brutal and visceral as the opening track, with the guitars by Deathbringer and C. exhaling sulfur. Then investing an even more infuriated sonority we have Lost Memories, where the pulverizing beats and fills by A. Prophaner are nicely supported by Utukku’s evil bass, while Waiting, Dying is a lecture in 90’s Death Metal with a doomed twist, perfect for some vigorous headbanging in the name of absolute darkness. And A. Prophaner’s crushing drums kick off the infernal Mortified, living up to the legacy of classic Death Metal.
Mind of Chaos blends the obscurity and vileness of Doom Metal with their core deadly sonority, with Deathbringer making sure he doesn’t use that moniker in vain, spreading death and violence through his devilish gnarls and riffs. Here Lies Death is another song highly recommended for admirers of ultimate heaviness without forgetting the much needed melody and intricacy, with the bass by Utukku reverberating like the bellow of a creature from the abyss. They still have a lot of fuel to burn in Vestiges of Tortured Souls, and the venomous sounds from Ancestral Preservation are the perfect depiction of the band’s devotion to doom-laden Death Metal; and last but certainly not last, get ready for the mot obscure and infernal of all songs, entitled Human Pyre, putting a demonic ending to the album with the striking riffs by Deathbringer and C. cutting our flesh mercilessly.
Channeling the oppressive weight of the genre’s darkest pioneers alongside a deeply mournful and introspective atmosphere, while still maintaining a distinct and personal voice, Vestiges of Tortured Souls represents a major step forward for Rotten Tomb, solidifying their position at the forefront of Chile’s increasingly renowned Extreme Metal scene and extending their reach far beyond national borders. Those Chilean death dealers are waiting for you on Facebook and on Spotify, and don’t forget to show them your utmost support by purchasing their new album from their own BandCamp or from the Nuclear Winter Records’ BandCamp or webstore. In other words, Vestiges of Tortured Souls is not just dark and heavy. It’s a statement of the power of Chilean extreme music worldwide, further cementing Rotten Tomb’s commitment to the underground tradition.
Best moments of the album:Horror Manifestations, Waiting, Dying and Human Pyre.
Worst moments of the album: None.
Released in 2026 Nuclear Winter Records
Track listing 1. Horror Manifestations 3:43
2. Condemned Reality 4:32
3. Lost Memories 4:46
4. Waiting, Dying 4:25
5. Mortified 3:43
6. Mind of Chaos 3:52
7. Here Lies Death 4:27
8. Ancestral Preservation 4:19
9. Human Pyre 5:04
Band members Deathbringer – vocals, guitar
C. – guitar
Utukku – bass
A. Prophaner – drums
The multi-talented Jordan “HeavenHammer” Varela knows Death Metal. The essence of it runs through his veins. He’s the drummer for the crushing Lust of Decay, the multi-instrumentalist behind the ferocious music of Shuriken Cadaveric Entwinement, and a former member of legends of brutality Lividity. Now in 2026 this Charlotte, North Carolina-based death dealer strikes again with his new solo project, the venomous Dichotomy, and its debut offering Lucifer Owns The Fence. Overflowing with rampant Death Metal riffs, firmly anchored to the roots of the genre but hitting with a powerful contemporary impact, the album is a must-listen for fans of Hate Eternal, Deicide, Immolation, and Cannibal Corpse, among others, resulting in one of the most formidable and accomplished albums of Jordan’s career.
Every note, every beat, every excoriating roar found in the nine tracks of unequivocal Death Metal on Lucifer Owns The Fence is the work of Jordan Varela, and if you want to show such a hardworking, talented and passionate metaller your support and admiration, you can find him and his Dichotomy on Facebook, and of course purchase a copy of his breathtaking new offering from the project’s own BandCamp, as well as from Rottweiler Records. In other words, be prepared for a monumental Death Metal assault to the sound of the fulminating Lucifer Owns The Fence, opening up the pit for a high dosage of violence and, therefore, fueling the unstoppable Jordan Varela to deliver another blast of Death Metal under Dichotomy in a not-so-distant future. It’s always amazing to witness one single person being responsible for an undisputed, demented high level of aggression and noise, and if there’s one thing Jordan has mastered doing, that is certainly delivering us all that and more in his solid career.
THE HEADBANGING MOOSE 